"Wow! That's the--I--we see dancing, we see tumbling, we-- That's--wow!" said Howie Mandel.

"For all of you to be that in sync, I'm just--I, yeah-- Wow, too. - Wow!" said Mel B.

"You are unbelievable. I mean, there's kids flying all over the air. I can't even believe how you caught them. I was in Simon's lap for a second because one did, like, I don't know how many spins. It was absolutely incredible. Loved it. Wow!" said Heidi Klum.

"I've done this a long time and this is honestly one of the most incredible things I've ever seen on any of these shows," said judge Simon Cowell.

Before the judged could vote, host Tyra Banks walked to the judges' table and pressed the golden buzzer.

Founded in 2009 by Peterson da Cruz Hora, the acrobatic dance troupe Zurcaroh has been dazzling audiences with their carefully choreographed routines, colorful costumes and mesmerizing stage designs for nearly a decade.

The group’s goal is to present diverse cultures and facets of the world through expressive dance moves and mind-blowing acrobatic stunts. Zurcaroh has performed all over Europe and delivered a jaw-dropping performance that earned them the Golden Buzzer on France’s Got Talent in 2017.

With stunts that would make even the most skilled cheerleaders envious, Zurcaroh’s dancers combine gravity-defying lifts, spectacular tosses and perfectly in-synch choreography for an unforgettable experience.

In America's Got Talent, a golden buzzer automatically passes the performer or performers to the live rounds of the show. Each judge and the host are allowed to press the golden buzzer once over the course of all audition rounds.

Baseline Self-Reported Income, Comorbid Conditions, Functional Status, and Physical Activity of Recruited Participants in the First Year of the Baltimore Experience Corps Trial: Baltimore, MD, 2006–2007 School Year

Participants were required to score 24 or higher on this exam to be eligible for recruitment.

Source of recruitment information was available for 145 of the 155 recruited participants. Word of mouth was the most common recruitment source among those who were recruited to the BECT from any source, with 31% (n = 45) reporting learning about the trial through friends or family. Selective media strategies produced the majority of recruited participants; these included direct mailings through AARP and the Baltimore City Civil Service Retirees Association (19%), brochures (16%), outreach talks (12%), and notices in church bulletins (13%). Mass media was successful as well; 25% of recruited participants reported hearing about the trial through paid radio advertisements (
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).

Sources of Recruitment Information as Reported by Recruited Participants in the First Year of the Baltimore Experience Corps Trial: Baltimore, MD, 2006–2007 School Year

Ten of the 155 participants did not respond to marketing strategy questions.

Among recruited participants, 73% reported only 1 source of recruitment information and 27% reported 2 or more sources. Among those who learned about the trial through word-of-mouth sources, 44% reported word of mouth as their only source and 56% reported hearing about the BECT through word of mouth and at least 1 other source. The radio ads yielded the largest number of participants who reported only 1 source of recruitment information; these ads were the second most successful recruitment strategy overall (
Table 3
).

Of the 368 screened, 310 provided information on why they were interested, including 134 of the 155 who were eventually recruited. When we compared the 58 who did not report any motives and the 310 who did provide motives, there were no significant differences in terms of age, education, randomization assignment, health status, or marital status; however, those who did not report a motive were more likely to be White (
P
≤ .01). Among study participants who were successfully randomized, 63% reported altruistic motives such as “giving back to the community” or “helping others is important” and 71% reported ideological motives such as “worthwhile cause” or “civil rights/helping the underserved.” Thirty one percent of recruited participants reported material rewards such as it is “good for me” (
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).

Osborne sat down for two interviews with Dean for the film, the second one taking place just two weeks before his death last March. “He was fantastic,” Dean says. “He really loved her, and he’s the one who gives us a portrait of what she was like.”

Osborne’s first interview shapes the film’s beginning, Dean says. A year and half into the production, the director thought it would be fitting for Osborne to give the film its ending as well, so she called and asked if he’d sit for one more interview.

“He said, ‘You know, I’ve got a cold so I might not be at my best, is that O.K.?’ And I said, ‘Sure, O.K., it doesn’t matter if you’re at your best . . . whatever you want, we’ll do.’ Well, he showed up in a wheelchair, and he was not at all the man I’d interviewed a year and a half previously,” Dean recalls. “He was only able to give us a half an hour—but in that half an hour he really poured his heart out about Hedy.”

Though Lamarr’s life ended on a somewhat tragic note—she died a recluse with minimal recognition of her inventive talent—Dean promises that the film offers her some form of redemption, thanks largely to the previously unheard tapes.

“She opens the tapes by saying ‘I wanted to sell my story . . . because it’s so unbelievable,’” Dean recites. “‘It was the opposite of what people think.’”

Grace Kelly and Naomi Watts Both with irritatingly blemish-less complexions and that baby-blond hair, Kelly and Watts represent the less-is-more beauty school. Why shellac on the face paint when you look like that, first of all—and when the world’s best diamond houses are all clamoring for the chance to your neck? Kelly, at left, is photographed circa (1955), in which she was all chiffon evening gowns, Riviera tan, and icy jewels. (The film’s wardrobe earned legendary costume designer Edith Head an Oscar nomination.) Watts channels Kelly at last May’s Cannes Film Festival, wearing romantic Marchesa silk and Chopard gems.

Natalie Wood and Anne Hathaway You might think Audrey Hepburn with Anne Hathaway’s gamine haircut, and we see your point. But Anne’s strong-browed, doe-eyed sex appeal reminds us more lately of Natalie Wood, shown here in a Warner Bros. 1961 promotional still for The movie gave Wood her second Oscar nomination (her first came after 1955’s ). Hathaway’s first-frost Chanel Couture two-piece, worn to the 2013 Golden Globes, is oh-so-Woodian—as is that second nomination. Thanks to her performance in she will appear at the 85th Academy Awards for a best-supporting-actress nod.

Simone Signoret and Jacki Weaver A French-film powerhouse and Oscar winner for 1959’s Simone Signoret is like Jacki Weaver in her renown for range, diversity in roles, and a long, decorated career. She’s shown here in a still from 1952’s for which she won a bafta for playing a blond bombshell mixed in with a circa-1900 crime syndicate. Australian actress Weaver, likewise, makes use of swooping blond bangs, dynamite curves, and palest-blue eyes in this photograph from the 2011 Academy Awards, nominated for best supporting actress after appearing in (2010). The dress is by fellow Aussie Collette Dinnigan.

Jane Wyman and Sally Field With heart-shaped faces, soft brown curls, and—is there any other way to put it?— eyes, Oscar winners Wyman (for in 1949) and Field (for both and ) resemble each other physically, or did after Wyman’s career-changing switch to “sensitive brunette” after an early period of “fizzy blonde.” They also have a preference for classic, quiet silhouettes over the spangly, showy, or cantilevered. Wyman, left, wears a black-lace trumpet gown and dainty opera gloves in a studio shot; Field arrives earlier this winter in black, lacy Dolce Gabbana at the Palm Springs International Film Festival.

Gene Tierney and Rachel Weisz Tierney was one of the great screen beauties of the 1940s, and a celebrated actress too: she was nominated for an Oscar for 1945’s and starred in enduring classics such as and At left in dark lace, Tierney displays the high cheekbones, full lips, and rich, dark hair that made her the W.W.II-era Rachel Weisz, Oscar winner in 2006 for Weisz here arrives at the 2013 Golden Globe Awards in dotted black lace, a gown by Louis Vuitton.

Vivien Leigh and Jennifer Lawrence Nothing has recalled Vivien Leigh lately like Lawrence’s recent outing in (ha!) Dior, with its blouson-ing bustline and metal-cinched waist (Civil War–era corsets, we hope, were not involved). But their intrinsic looks have a similarity, too: both are magnetic on-screen and possess—as dramatically highlighted in in Lawrence’s case—a feline, narrowed-eyes sex appeal that flares when playing angry. Leigh is here in a 1940 studio portrait, wearing a plunging neckline and the era’s de rigueur red lip; Lawrence hoists her Critics’ Choice Award at the 2013 ceremony, to which she wore deep-V’ed leather-and-silk Prabal Gurung.

Susan Hayward and Jessica Chastain Last year, we allowed that Jessica Chastain’s fashion choices and beauty reminded us of Deborah Kerr, given their shared taste for red-head-flattering jewel tones. This year, with Chastain’s repeated preference for blue, we thought of Susan Hayward—Oscar winner for 1958’s , in which she played a real-life woman wrongly sentenced to death. Chastain also starred in 2012 as the ballsy heroine of a real-life drama, in and for the performance has earned her second Academy Award nomination in two years. She’s shown here, at right, in Calvin Klein Collection and Harry Winston jewels at the 2013 Golden Globe Awards.